Interview with Katie Carpenter of ‘Haunting of Hill House’

The Haunting of Hill House has been the talk of the town in the horror world, and I was lucky enough to interview Katie Carpenter from the series. Carpenter served up some memorable scenes as Stacey, the sultry bridesmaid found hooking up with Theo; Steven and Nell learned of Theo’s preference for women in the iconic scene. I chatted with Katie about working on Hill House, who she’d love to work with in the horror scene, and her upcoming film Bloody Ballet with indie Scream Queen Debbie Rochon.

JG: Hi Katie! Thanks so much for taking the time to chat. I’m a huge fan of The Haunting of Hill House – it’s one of the first things that’s scared me in a while.

KC: Absolutely! Glad you enjoyed the show.

JG: It’s been the horror hit of the year. What has it been like to be a part of something that will likely go down in horror history?

KC: You know, when I read a few of the scripts, I had a feeling it was going to be pretty amazing. But you never know how it’s all going to come together. I’m so impressed with the final product and grateful to be involved.

JG: Were there any rumors of actual hauntings on the set of Hill House? (Hopefully nothing as serious as on the set of The Poltergeist.)

KC: I didn’t really hear of any…but the building that we shot in for one of my scenes – upstairs in the wedding venue, was actually a funeral home which was pretty creepy.

JG: There has been some discrepancy over the ending, whether what we saw in the future actually happened or if the kids are really in the Red Room. (Director) Mike Flanagan has said that he even changed the ending to make it a bit more optimistic, but he’s unclear on if what we’re seeing is real. What’s your take on that?

KC: That’s a tough one. I was convinced that they had escaped until I read about the color red being used as an indication of the Red Room and my mind was blown. I think the interpretation is up to the viewer. And either way – it seems as if the kids have reached a momentary minute of happiness, even if it’s ultimately short-lived.

JG: You earned your horror chops in films like Scatter before doing Hill House. What draws you to these roles?

KC: The script is what I look at – I think great scripts reach across many genres. I’ve been lucky to be involved with several horror projects that had interesting scripts and likeable, complex characters.

JG: Who is the one person in horror you’d love to work with?

KC: I’ve always been a fan of Guillermo Del Toro’s work. His look is so unique – and he’s got the nightmarish fantasy thing down which I think is something that stays in people’s heads long after they’re done watching.

JG: You’ve got Bloody Ballet coming out, which also stars Debbie Rochon, an icon in indie horror. What was it like working with her?

KC: Debbie was very kind and wise. She’s worked a ton, and has stories to prove it. She has a quiet intelligence and is reserved for the most part, but when it comes time to perform she really goes for it.

JG: What can we expect from Bloody Ballet (formerly known as Fantasma)?

KC: A beautiful, engaging story about a ballerina who’s battling demons inside and out. I think the look of this film is so unique. Kendra (Carelli) does an amazing job as Adriana. The gore is there, and it’s very different and more stylized than most horror films.

JG: What’s your favorite scary movie?

KC: The ones that have stuck with me are Get Out, Paranormal Activity, The Shining, and Pan’s Labryinth. The first three are memorable to me because they start out very realistic and are psychological in nature which I think can be scarier than fantasy. And Pan’s Labryinth because visually it’s so stunning.

Bloody Ballet spins the tale of a ballerina dancer who lands the lead role in the upcoming Nutcracker performance, infuriating her competitors. She’s forced to face her demons in more ways than one as she navigates jealousy, mental breakdowns, and the supernatural. The Black Swan-esque, Giallo-style thriller from High Octane Pictures is now available on DVD and VOD.